'Tarzan' is storytelling of highest order

Published: Friday, June 25, 1999

WILLIAM KERNSA-J Entertainment Editor

Full-length animation from Disney Studios has improved in direct correlation not only to technological advances but, perhaps more importantly, market competition supplied by such studios as DreamWorks and the unjustly ignored 20th Century Fox.

That said, Disney really had not seen a need to push the envelope in terms of story, that is, to provide an entertaining animated feature that could be interpreted on different levels by older and younger viewers.

Until now. Until "Tarzan."

True, the film is funny, in fact often absolutely hilarious. Yes, Tarzan's gorilla and elephant buddies Terk and Tantor are merely this year's Simon and Puumba, but the concept still works, resulting in smiles.

The film has its own in jokes look for Mrs. Potts and Chip from "Beauty and the Beast" to show up, much like Steven Spielberg's E.T. given a cameo for observant fans in George Lucas' "Star Wars: Episode One the Phantom Menace." And the animated film's flaws stop it inches away from masterpiece status, the most obvious being a cliched, predictable and all-too-obvious human predator/villain.

Even so, "Tarzan" remains one of the year's very best films keep in mind I've yet to view a five-star film in 1999 and leaps into the admittedly early Oscar race in the categories of Best Picture, Best Original Music Score and Best Editing, not that life ever has proven fair enough to find the editing of animated films so honored.

Yet the first five minutes of "Tarzan" is what movie making is all about, a showcase of film as a visual medium.

In a beautifully scripted, animated and, yes, edited sequence, the full back story is laid out without use of dialogue: a flaming shipwreck that strands baby Tarzan and his parents on the African shore, cross cuts between Tarzan's parents and gorilla parents Kala (voiced by Glenn Close) and Kerchak (Lance Henriksen), attacks by the leopard Sabor that strips the gorillas of their child and Tarzan of his parents, Kala's discovery of the infant survivor and, after a run-in with Sabor, her return to the pack determined to mother the human orphan.

Much to the disenchantment of Kerchak, who allows the child to stay but refuses to accept the adopted infant as his son.

Bound to astonish viewers is the swirling camerawork and feeling of breakneck speed as the adult Tarzan creates a personal mode of transportation, not just swinging from the vines as live-action Tarzans did in approximately 47 prior films, but actually surfing the gnarled branches, his body posture that of an in-line skater viewing jungle growth as inclines.

The sense of movement is as dazzling as is the deep frame technique used in providing African backgrounds. And when Tarzan at last is forced to combine wit, strength and speed the rescue of Jane from angry baboons, his own thrilling battle with Sabor the overall effect is thrilling to dizzying effect.

It isn't easy to know when to segue from comedy to introspection, from death to hope, but co-directors Kevin Lima and Chris Buck have accomplished the near-impossible.

The comic highlight no doubt is a sequence animated to music called "Trashin' the Camp," in which Terk (voiced by Rosie O'Donnell), Tantor (Wayne Knight) and buddies reduce human explorers' camp to a shambles, but choreographed with movement and music reminiscent of a "Stomp" performance."

The kids will love it.

And viewers of every age will be entertained by the action.

But the film offers so much more. There is Tarzan's growing identity crisis, insecurity about whether he fits in. There is a mother and son relationship the likes of which Disney probably hasn't even attempted since "Bambi," never mind the species involved. (Think back to how many Disney animated stars have only paternal influence.)

While the film no doubt will be faulted by some for failing to showcase Africans in Africa, "Tarzan" courageously uses metaphor to express its One World concept, utilizing mistrusting or domineering species, rather than races, to make its point.

The message, there for the taking but never driven down one's throat, is one of tolerance, equality and acceptance.

There is a Shakespearian tone both in a potentially ill-fated love story involving a man and woman from different, frightened families, and also in the ensuing shame that follows an unexpectedly fierce battle between father and son.

And there is an assumption of betrayal born of untold truths as this animated Tarzan, all sinewy muscle and Harlequin romance-hair, cannot absorb knowledge of the human world fast enough that assumption, along with, of course, his affection for Jane, bringing his gorilla family to the brink of tragedy.

(Mancina also worked on the Broadway cast recording of Julie Taymor's "The Lion King.")

Disney's "Tarzan" is, first and foremost, beautifully animated, action packed and loads of fun. It also is G-rated storytelling of the highest order, asking of its audiences no more than they are willing to give. Indeed, "Tarzan" is that rare cinematic effort that can be absorbed on simple or complex terms and, no matter the individual choices made, remains equally entertaining.

William Kerns can be contacted at 766-8712 or wkerns@lubbockonline.com